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The Surprising Twist in John Neumeier's New Opera for the Joffrey
As a student, Milwaukee native John Neumeier appeared in an opera at the Lyric Opera of Chicago. As Hamburg Ballet's artistic director and one of the world's leading choreographers, Neumeier now returns to the Midwest to direct and choreograph a new version of Gluck's Orphée et Eurydice, a co-production of the Lyric Opera, LA Opera and Hamburg State Opera. Set to open in Chicago September 23 with the Joffrey Ballet, the ambitious work will see additional engagements in Los Angeles and Hamburg over the next two years.
How did you come to be involved with this collaboration?
It was initiated by the director of the Lyric Opera, Anthony Freud, but I had already been in contact with Ashley Wheater about a separate project with the Joffrey Ballet. The two things came together—and this was really interesting to me because Chicago was important at the start of my career. I was born in Milwaukee, but most of my training was in or near Chicago.
You've previously created version of Orpheus for Hamburg Ballet. What about this particular production caught your interest?
When I got this offer from Anthony, I just went back to the piece and tried to sense what it meant to me now. Gluck's Orphée was part of a push to reform opera and to make a complete work of art involving music, text and dance. What interests me—particularly in this French version we are doing—is that dance plays such an essential role. When Agnes de Mille choreographed Oklahoma!, it was considered a revolution in musical theater, because dance moved the plot along. In Orphée, we can see that the same idea had been realized several centuries ago: that dance would not be just a divertissement, but a theatrical element, literally "moving" the plot along and expressing in another form the emotion of each situation.
Another idea in Orphée which fascinates me is its directness in projecting profound human emotions—emotions not used as an excuse for vocal virtuosity, but expressed in simple and direct musical terms. In Orphée, we have a mythical subject which is related in an extremely relevant, familiar, human way.
It seems that a lot of your work is characterized by stories and subjects that have existed for a long time being told in a modern way.
Absolutely. It's my main premise. Whether it's a story or a symphonic work, ballet is an art of the present tense. When the curtain goes up, we're interested in and moved by the people we see—not by their literary or historical sources. When watching Romeo and Juliet, we're not interested in the question of whether the lovers really lived in Verona or not—we're moved by the conviction of those dancers who are performing for us "now." So I've always tried to find the essential timeless emotions in each situation and find a human movement language to express them. I've often put historical themes into modern dress—hoping the audience may recognize themselves in the honest emotions inspiring my choreography. I believe this was Gluck's intention when he composed Orphée et Eurydice.
Will you take the same treatment with this work?
It will be set in a modern time. It will, in fact, take place in a ballet studio, because dance is at the very core of it. In the myth Orpheus was a musician, but I interpret "music" in a broader sense. So in my version, Orphée is a choreographer, and his wife, Eurydice, whom he loses, is his ballerina.
Donning sneakers, 24 dancers performed the rapid, rhythmic contemporary movement of Benjamin Millepied's Counterpoint for Philip Johnson during American Ballet Theatre's fall season. Using members of the ABT Studio Company and Jacqueline Kennedy Onassis School, the commission was an unusual late addition to the program. But even more unusual was its setting: The work was danced not behind the proscenium, but as an intermission interlude on the tiered balconies of the David H. Koch Theater promenade, with the dancers looking down on the patrons from above.
With pieces like Counterpoint at ABT and Peter Chu's Space, In Perspective at Hubbard Street Dance Chicago, and Paris Opéra Ballet looking to set work in the public spaces of the Palais Garnier this spring, in-theater site-specific works are trending among companies whose seasoned patrons are more used to sitting comfortably in the dark.
Hubbard Street Dance Chicago enters its fifth decade with a new training program designed to propel young professionals toward careers in dance. The Hubbard Street Professional Program (nicknamed "HS Pro") provides a two-year postsecondary alternative to university dance programs.
As many have pointed out, the United States is a country of immigrants.
But the access to our country has been threatened, and it makes us appreciate the times when people from all over the world were welcomed here. I'll bet each of you could come up with a list of inspiring dancers, teachers or choreographers who came to the U.S. to start a new life. My list, alphabetically organized, is below. But first, two quotes:
"In America, the foreigner is more American than anybody," —Balanchine, quoted in Dance Ink, Winter 1992/93
"Reading makes immigrants of us all. It takes us away from home, but more important, it finds homes for us everywhere."—Jean Rhys
One could say the same of dance, as it has a way of finding aesthetic homes for those who are committed to their dance lives.
Current Artistic Directors
Sophiline Cheam Shapiro
Joaquin De Luz
Lorena Feijóo and Lorna Feijóo
Young Jean Lee
Yuan Yuan Tan
Sarah Haarmann stands out without trying to. There is a precision and lack of affectation in her dancing that is very Merce Cunningham. Her movement quality is sharp and clear; her stage presence utterly focused. It's no wonder she caught Mark Morris' eye. Even though she still considers herself "very much the new girl" at Mark Morris Dance Group (she became a full-time member in August 2017), in a recent performance of Layla and Majnun, Haarmann seemed completely in her element.
Company: Mark Morris Dance Group
Hometown: Macungie, Pennsylvania
Training: Lehigh Valley Charter High School for the Performing Arts and Marymount Manhattan College